S34 
in every library. Where, however, can 
fo greata progrefs be made in that fcience, 
as in 2 mufeum in which the demonftra- 
tor has aflembled whatever is neceflary to 
the inftru&tion of his pupils? | 
According to the order F have efta- 
blithed in my lectures, I begin by arche- 
ology, and by the ftudy of the monu- 
ments. ; 
After having fucceffively run through 
the monuments of the different claffes, I 
recapitulate the attainments which have 
been acquired, by a few general oblerva- 
tions on the art. 
T examine, in the firft place, the origin 
of the art, its aim, the ufe of the fymbols, 
that of the allegories, and the differences 
between the art and the fineart. We per- 
ceive why the Egyptians, to whom be- 
Jongs the glory of the higheft antiquity in 
the exercife of the art, attained a high 
pitch of excellence in the mechanical part, 
but could never reach the fine art itfelf.— 
We inveftigate the three different epochs 
of the art among that people ; the frft, 
when they had laws, a religion, and man- 
ners, peculiar to themfelves, until the inva- 
fion of Cambyfes, five hundred and twen- 
ty-four years before Jefus Chrift, and the 
firft year of the fourth Olympiad. 
The fecond, at the time when Egypt 
was under the domination of the Perfans, 
Greeks, and Romans. 
Aud, lattly, the third, when the works 
of the Egyptian artifts were imitated by 
the Greek artifts, in the reign of the Em- 
peror Hadrian, a hundred and feventeen 
years after Jefus Chrift. Thefe three 
epochs confequently embrace the ancient 
Egyptian ftyle, the modern Egyptian 
ftyle, and the Greco-Egyptian ftyle. 
ence we fee the art very anciently 
cultivated among the Etrufcans, by whom 
the fine art was attained. In their repre- 
fentations they blended the mythological 
ideas of the Greeks with thofe that were 
peculiar to themfelves. We find in the 
productions which have been tranfmitted 
to us, the traces of their riches, magni- 
ficence, and tafte. We perceive that they 
formed a rich and powerful community 
before the foundation of Rome ; and that 
they were to be comprehended among the 
nations enlightened by the arts, at atime 
when the Romans were ftill in a ftate of 
barbari{m, four hundred and feventy-one 
years after the foundation of Rome, and 
two hundred and eighty-four before ‘the 
Chrittian era. In'‘their works, which are’ 
peculiarly characterized by their ftrong 
exprefficn, we likewife remark the fyles, 
Introduction to the Study of Archeology. 
[May 1, 
namely, the ancient ftyle, the intermediate 
or middle ftyle, and the modern ftyle. 
Proceeding hence to the hiftory of the 
art among the Greeks, we trace it from 
its infancy to the time of Doedalus, three 
generations before the fiege of Troy.— — 
We follow its progrefs until the expedi- 
tion of Xerxes, when we fee the art fou- — 
rifh in Greece after the battles of Salamis 
and Plata, four hundred and eighty 
years before Chrift, until the commence. 
ment of the Peloponnefan war. We ad- 
mire the epoch of confummate tafte, and 
of the grand ftyle, under the adminifra- 
tion of Pericles, in the fir year of the 
twenty-fourth Olympiad, four hundred 
and fixty years before Chrift. We fee | 
afterwards the viciffitudes of the art under 
the fuceeffors of Alexander, at the time of 
the Achzan leagues, under the Prclemies 
and Seleuci, in the courts and cities of 
Afia Minor ; and, laftly, at the period 
when the Greeks were eftablifhed among 
the Romans, to whom they were fubject. 
At each epoch the great artifts who have 
given it celebrity are pointed out. . 
The hiftory of the art among the Ro- 
mans terminates the ftatement. We fee 
thefe haughty eenquerors lay wafte Etru- 
ria and Greece, until they were themielves 
fubdued by the power of the arts, at the 
annihilation of which they feemed to aim 
in the firft inflance. Mummius diffemi- 
nated throughout Italy a tafte for the pro- 
dutions of the art, by caufing a multitude 
of chef dauvres to be tranfported to 
Rome. We fee Rome peopled, as it were, 
with ftatues, after the taking of Corinth, 
and the deftruction of the Achzan league. 
We fee the objects of the art become the 
prey of greedy pro-confuls ; and the 
thirft of gold for their acquifition lay the 
foundation of unprecedented rapine and 
extortions, While the young nobility of 
Rome were paffionate admirers of the arts, 
the Romans confidered the profeffion of an 
artift as unworthy the purfuit of a free- 
man. However, their power, riches, and 
liberalities, called the great artifts to 
Rome; and the art flourifhed there in the 
higheft degree under Auguftus and his 
more immediate fucceflors. It afterwards 
degenerated progreffively until the time of 
Septimius Severus, when its decay became 
very fenfible. In the Lower Empire it was 
extinguifhed to fuch a degree, that the me- 
chanical proceffes alone were tran{mitted 
to us in the middle ages. Having reached 
that epoch, the revival of the art falls ua- 
der confideration. 
With fuch a ftore of general know- 
ive ledge, 
